Characterisation session plan for actors

Notes from a character workshop held for Survivors of the Titanic, in Feb 2015. Posted in case these are of use to anyone else. Please contact us first if you would like to reproduce this article.

LAURA’S NOTES
The whole plan for the workshop session was to show you, in a very general way, things about preparing as an actor. When acting, there is a big difference between pretending to be someone else (in which case the acting is wooden and lacks reality for the audience), and in “becoming” the character.
Now whether fictional or factual, character research and development is critical, as is warming up the body and voice. Because in live theatre, you do not have the luxury of turning the camera off, doing a re-take, then editing the performance, before the public see it, you have to remember that on the day, you cannot falter! (this is why Hayley was running the physical warmup and the improvisation exercise, which she will re-run at all rehearsals. They act as an icebreaker and develop skills at the same time).

IMPROVISATION
because of the live nature of theatre, in a performance, if someone misses a line, which does happen, the rest of the cast in that scene need to not be thrown by that change, and to remain in character, and continue the scene. This means being able to improvise a line or two, and guide the scene back on track. That is why these improvisation sessions are so important and we will keep running them as part of the session warmup.

CHARACTERISATION
If your character is factual, you already have a base of information to go on. If they are fictional, what information can you glean from your script about them? What can you find out about them.? Who were they? What did they like? What kind of culture did they live in, and what social or economic issues might have affected them? I have a research helpsheet below which you could print off, and which could help you organise character research.
Near the start of the workshop, I asked people who had already started this research process, to tell us about their character.

For now, this person is still external to you. This person is still someone else. What we need to start looking at, is how you can start to become that person.

We digressed from character research at this point, and started looking at becoming the character.
We started in the “safe, known zone” of our real lives.

VISUALISATION
Both of these were run as adaptations of Charades.

1) In the first part, cast were asked to re-enact a simple and common task from their daily life. It could be making a cup of tea, watching TV, walking the dog, etc. Using no props or words, but remembering what the things you handle feel like, and how they move, and what muscles your body uses, and how you feel, in all its nuances, each cast member showed us a daily household task.
2) The second adaptation of this was slightly harder. Now, instead of depicting a task, members showed a feeling or emotion, or a combination of feelings or emotions. Most selected something relating to part of their characters emotional journey in the script. How do you feel when you are proud? terrified? freezing cold? Freezing cold but having a laugh? etc? remember what your body does when you experience this feeling. Your muscles, face, etc. How you move. For example when freezing cold, I personally tense up but try to hide shivering.

REVIEW TIME

We then called a break, and then those people who had researched their characters were asked to describe similarities between themselves and their character. It could be as simple as the fact your character might have liked coffee, and so do you, through to one person who had been married to an American and moved to America at that time, was playing a character in the show who does the same.

Cast were asked came back to the first task, of introducing your character. but now, no longer as someone external, no longer in the Third Person, but as if you were the character. In the First Person. The difference was already fantastic, from when we had started.

This is all a process that you can continue at home in spare time. This session was to open the door to possible ways of exploring your character and performance. Specialist things will come up or you may want to look more deeply into acting theory as relating to a special part of your performance. Always feel free to ask for help, use the things that work for you personally, and discard the things that don’t work for you personally.

WORKSHEET:

It is important for an actor to be aware of his or her character, and to portray that character as a personable entity on stage. To this end, it is vital that you get to know your character..

First of all, read your script. Note what your character says about himself or herself.

Is your character — 

Bold or shy?

Caring, or careless?

Happy, sad or angry?

Rich or poor?

happy with their job / lifechoices?

Married or single?

If married, is he or she happy in that marriage? Why? Why not?

What is his/her profession?

happy with their job / lifechoices?

Married or single?

If married, is he or she happy in that marriage? Why? Why not?

Is anything mentioned about his or her past? How would you imagine that would relate to how he or she is feeling now?

Get as complete a picture of your character as you can — for example, a 17th century whore in a country town, would be played markedly differently from a 21st century call girl in Hollywood, or a Celtic chieftain from a modern day monarch, or a 16th century witch, would be a very different person to a modern day neo-pagan/witch.

This is now where you must take into account the society in which your character lives. Take into account the history of the time in which he or she lives, and the society that he or she will have grown up in. How will that affect the character? And their body language? The modern Hollywood call girl would wear high heels, the 17th century whore would not. Therefore they would walk differently..

The Celtic chieftain would be a lot more rough and ready than a later monarch, and the 16th century witch would be mortally aware that if caught she would be burned at the stake, whereas in the 21st century, she would have no such fear.

Even in the modern day, depending on the culture, your character will be affected. A hippie would be different from a business person, and a Japanese girl would behave differently from a British girl.

Now, based on the character as depicted in the script, and what you have found out about them, create a little story about them, and rather than considering them to be someone apart from you, you now must imagine yourself to be that person.

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How do you feel in certain situations? (This is where the method acting comes in, to draw upon your own past experiences and feelings, to understand how your character might be feeling). What are the differences between what your character is feeling, and what you are feeling? Why?

Take an hour each day or so, to walk around the house as your character. It’s hard at first and becomes easier, don’t worry.

As soon as your costume is available, you are welcome to wear it during rehearsals — very often people find that dressing as their character helps them invaluably.

Sometimes, when a character is far removed from how you are yourself, it can help to watch a movie or TV show with a similar setting, or similar character to yours. Watch that character. How does he or she act? This can give you some pointers to start with. If you are unfamiliar with the historical period, or culture, get a simple book from the library, even from the kiddies section (sometimes these are better as they are heavily illustrated!). It does not have to be anything complex, in order to give you a overview.